For the rhetoric of a proto-interactive, non- or multi-linear literature; the rhetoric of the still poorly-defined scope of hypertext and cybertext (which subsume at least those two characteristics) seems familiar not only in the field of critical theory but also in the practice of what is uncomfortably summarized as ‘linguistically innovative poetics,’ an elaborating tradition which, arguably, was at least partially and provisionally instituted by what is now known as L=A=N=G=U=A=G=E poetry.